Frontal shots and the crisis of authority on film: the disruptive event
DOI:
https://doi.org/10.11606/issn.2316-7114.sig.2021.167447Keywords:
John Ford, Alfred Hitchcock, Julio Bressane, Frontal shot, SpectatorAbstract
Based on the idea of configuration (Badiou, 1998) of frontal shots, observed in films by John Ford, Alfred Hitchcock, Major Thomaz Reis, Julio Bressane and James Williamson, this article investigates how “the unstable signs of cinematographic image” (Lindeperg, 2013) are capable of introducing a contradiction and, at times, confront various types of authoritative discourses that may exist in a film, based on a disruptive event.
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References
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LINDEPERG, S. “O caminho das imagens: três histórias de filmagens na primavera-verão de 1944”. Estudos Históricos, Rio de Janeiro, v. 26, n. 51, jan.-jun. 2013
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Referências audiovisuais
FAMÍLIA do Barulho, a. Julio Bressane, Brasil, 1970.
AO REDOR do Brasil. Major Thomaz Reis, Brasil, 1932.
BIG Swallow, the (A Grande Engolida). James Williamson, Reino Unido, 1903.
PORTRAIT mystérieux, le (O Retrato Misterioso). Georges Méliès, França, 1899
PSYCHO (Psicose). Alfred Hitchcock, Estados Unidos, 1960
STAGECOACH (No Tempo das Diligências). John Ford, Estados Unidos, 1939
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